Antoni Judit: Tapa, a fakéreg művészete. Válogatás Ignácz Ferenc gyűjteményéből. (Távoli világok emberközelben I. Gödöllői Városi Múzeum, 2006)

Tapa making in New Guinea goes back to such remote times in the past and there are so many factors to consider that it is impossible to assess by conjectures, departing from the present situation, as to what the origin of the technique and the ways of its expanding might have been. The important role of tapa as we described it plays in Polynesia in social and religious life is not typical out this way, though certain traits pointing to that direction can be detected. One of the most known tapa making regions is the territory of Oro Province (formerly Northern Province), on the northern shore of the island, along the beach of Dyke Ackland Bay and of the Collingwood Bay. This is the land of the peoples living on both sides of Cape Nelson, the land of the tribes called Managalese, Orokaiva and Binandere. Similarly to the method followed in characterizing the whole of Melanesia, we will deal only with one particular territory of Papua New Guinea, with the one from where our collection comes, and which is identical with the aforementioned region. Like the multitude of tourists and collectors, Mr. Ferenc Ignácz was attracted by the art of the people living in this region. So he visited the place and by selecting pieces from this region, he made up the second biggest tapa collection of the museum. Moreover, he was mindful enough to record the different phases of manufacturing. Mr. Ferenc Ignácz visited Ajoro village situated on the bank of the river also called Ajoro in March 2002. This place is at a distance of 10 km from Popondetta, the chief town of the province. The dwellers living in the villages by the sides of the river Musa flowing from Owen Stanley Mountains to Dyke Ackland Bay and near the banks of its tributaries live on gardening and fishing. The raw material of their tapa is, here also, the paper mulberry-tree, "bogota" tree by its local name. They grow it for the needs of the family in small plantations by the riverside and near their houses in order to permanently ensure new supplies. The best quality tapa is provided by the bark of a tree which is neither too old nor too young. It is the women's task to choose the tree most suitable for them, which should possibly have a smooth and even bark. After the selection, they decide for what purpose they wish to use the tapa, then they set to peeling off the bark, detaching the phloem and thereafter to beating. We already know the subsequent remaining steps of the work. The women beat the bast on a hard wood envil until it is flattened to the desired size and thickness, also watering it time to time and finally, they allow it to get dry. Painting is performed with the brush made from the fibres of black palm (Normanbya normanbyi): black paint is prepared from charcoal or from black sludge, the red one is of vegetal origin or is earth colour - the latter may also have a brown tone. First the contour of the pattern is painted with black, then, after a week's drying, the space between the lines is filled with red or brown paint. The patterns constitute the property of a family - nobody else is allowed to use them except those members of the family who have a right to do so. The totem-patterns symbolizing the primeval ancestor of the family are taken from nature: they represent plants or animals in a stylized form in side-face or front-wise view lined up side by side. It is always possible to identify from these drawings who made them and to which family group the person belongs. The fringes worked up into the longitudinal ends of the tapa are status symbols and their pattern system is based also on the traditions of the family. The tapas meant for everyday or festive usage are similar in appearance. The festive one is rarely used, therefore, it lasts longer. As important exchange and present goods, tapas have, by their quality and quantity always heightened the prestige of both the donor and of the donee. The tapa was used as mosquito-net and blanket during chilly nights; they covered with it dishes containing boiled food to keep away the flies and they wrapped into it the dead bodies before committal. Apart from the items mentioned above, nowadays they prepare their goods also for the tourists: with traditional methods and with traditional patterns on them. This is the rare and fortunate case, when the otherwise fairly harmful tourist traffic helps both the preservation of the traditions and the physical subsistence and growth of a people.